The Building Conservation Directory 2021

106 T H E B U I L D I N G CO N S E R VAT I O N D I R E C TO R Y 2 0 2 1 C AT H E D R A L COMMU N I C AT I ON S remains or archival images. Furthermore, for any ‘restoration’ to be carried out successfully it is essential that those working on the project have a thorough knowledge of historic styles and period detailing combined with experience of traditional techniques and materials, as only this breadth and depth of understanding can provide a reliably authentic result. Where design authenticity is in any doubt, general good practice is to simplify the new restoration rather than add conjectural decoration and detail. PERIOD STYLE REPLICATION Where there is insufficient information to enable replication of the original details, one option is to replace the missing component with a new feature in the style of the period. Like the ‘restore original design’ option, this approach is relevant where the majority of the original historic features are present – the railings on either side of the gate, for example – but for the missing component itself there is nothing authentic to copy. Without an original design to copy it is important to distinguish the replication of a period style from the restoration of a historical design, so that all decision makers understand they are commissioning a ‘modern interpretation of a period style’ as opposed to an authentic historic design. The drawback of both this approach and restore original design generally is that, if well done, it may be difficult to tell which components are original and which are replicas. Arguably this is not so serious where the new work is an accurate restoration of the original design, but both approaches can confuse historic interpretation, and in the worst case may lead to observers doubting the authenticity of everything. Some conservationists are therefore opposed to all forms of replication except for small items as a practical expedient, and The Society for the Protection of Ancient Buildings in particular advocates a philosophy of ‘repair not restoration’. MODERN DESIGN The focus of conservation is on managing change. This is based on the principle that some alterations and additions are necessary to ensure the life and sustainability of old buildings, creating environments that are practical and desirable for today’s society. This approach is inclusive of the values of owners and local communities. It allows for maintenance of the material heritage balanced with contemporary needs and tastes. From this perspective the addition of new original designs can be considered to positively contribute to the value and character of a place by telling its own story, becoming just the latest phase in the timeline of a property’s development. New design is particularly appropriate where there is no clear historical evidence or reference for the new work and where the desired objective of a historic setting is to not only maintain the existing character, but to allow for its evolution through the introduction of well-designed additions. and it is the quality of the design, and specifically how it responds to its setting that determines whether it is sympathetic. Impact and enhancement: when working on an ironwork project it is all too easy to see it as an isolated object and forget how it relates aesthetically and practically to its overall setting. Evaluation of the impact of the design and the enhancement it offers is essential to gaining permission for its installation. With these five key points in mind from the outset, a designer can establish the design brief and aesthetic direction, including whether the style should be traditional or contemporary. As each project is unique, there is a no generic solution, and the best approach will vary depending on the project and context given. The flow chart below shows some of the options. Projects may not always neatly fit into a specific category. Nonetheless, the intention of this framework is to give a starting point so that the process of analysis and assessment can get under way. RESTORE ORIGINAL DESIGN Restoration is the reinstatement of missing work with the objective of authentically re-creating the former appearance of an interior, building, street or landscape. As a design direction this option is about establishing a better impression of how a particular space appeared at a particular time, or how a work of art or architecture was originally intended to be perceived. It is not a re-imagining or tweaking of what the designer would have preferred it to be. It is important to be clear that the concept of authenticity, as the transmitter of the values and significance of cultural settings, is the key component in the process of any restoration. This approach is especially relevant where most of the original historic features are present with only specific elements missing. For example, if all the railings to a front entrance are complete but the gates are missing. However, restoring an original design relies on high quality evidence of what was once there, such as physical DESIGN OPTIONS HISTORICAL MODERN RESTORE ORIGINAL DESIGN HERITAGE INSPIRED PERIOD STYLE REPLICATION CONTEMPORARY Detail of the new gates restored by Topp & Co at Weston Park, Sheffield (Grade II): the original gates were stolen and historic photographs (top) provided the design reference for their replacement. Period style gates at Barnes Park, Sunderland (Grade II): with no direct historical references to replicate, the new gates were made by Topp & Co to Bethan Griffiths’ design and specification, incorporating elements from the original railings.